First, compared with poetry, words are longer than poetry to express delicate and profound feelings.
Wang Guowei said in the "Revised Draft of Ci on Earth": "Ci is the body and should be revised. You can say what poetry cannot say, and you can't say what poetry can say. Poetry is wide and long. " The lyrical feature of ci style lies in "essence"-a kind of implicit and deep inner beauty. Only in this way, its long "can say poetry but can't say it" and its short "can't say poetry but can say it". Poetry is good at "wide range" and ci wins with "long words" The subtle differences in lyrical connotation of this kind of poetry lead to the subtle differences in performance art between them. Relatively speaking, poetry is implicit, poetry is straightforward and soft, and poetry is more than words; Poetry is often bright and smooth, but the words are particularly subtle. Just as it is always in my heart, try to read Wang Changling's poem "Always in my heart" and Xin Qiji's "Zhu Yingtai Near" ("Baochai Powder") * * *; It is also like writing Xi Chun, trying to compare Meng Haoran's poem "Spring Dawn" with Li Qingzhao's "Like a Dream" (that is, "Rain Last Night"). We really don't need to distinguish between grandeur and elegance, but the emotional difference between them is natural clarity and delicacy, and the difference between explicit and implicit artistic expression is undoubtedly obvious.
Second, compared with poetry, words are more important than expressing gorgeous and soft feelings. In other words, words are longer than expressing "eroticism".
"Love" is a matter between men and women. China's classical poems have formed a long river of love poems, from Guan Ju in The Book of Songs to Nine Songs in The Songs of Chu, from Wu Sheng and opera songs in the Southern Dynasties to Li Shangyin's untitled poems. Only with the song and poetry. "Poem Expressing Aspiration" shows more solemn thoughts and feelings. Romance focuses on expressing the emotions between men and women. Most literati in Song Dynasty wrote poems, big words and small sentences at the same time, which is extremely obvious. Liu Yong, who was despised by people at that time and specialized in "salt words", also had a poem "Boiling the Sea Song" which painstakingly reflected the sufferings of salt people. Su Shi, who "takes poetry as his ci" and created a bold style of ci, still has more than half of his ci related to eroticism; Li Qingzhao, known as a poetess, has typical political poems, but none of them. ..... There is a proverb that says, "The word is Ke Yan".
Lyrical "poetry is big and words are small" will inevitably lead to the artistic style of "poetry is strong and words are soft" "Wang Zhifang's Poems" says: "Dongpo is naive with small words, and Qian Wen said,' Why do you travel a lot?' The two said to each other,' Small poems are like fine print, and Mr. Fine print is like poetry.' "Small print is poetic" refers to Dongpo's poetic writing, which is bold and unconstrained, and "just" is poetic; "Poetry is like its words" refers to people who write poems with words and pens, charming and soft. The implication is that Su Ci and Qin Poetry do not conform to their true colors. Therefore, Yuan Hao asked Yuan, a native of A Jin, in "On Poetry": "The sentimental peony contains spring tears, and the rose is powerless to lie down. I didn't know that the canal was a girl's poem until I came out of the retired sentence "The Rock". " Little poems that travel less are called "girl poems". Prove it again with Li Qingzhao's poem. His poem "Life is an outstanding person, and death is also a ghost hero" ("Summer quatrains"); What a "rigid" style it is to say that "the water runs three thousand miles south, and the barometric river has fourteen continents" (the title of Baron House)! His words are "there is no way to eliminate this situation, only frown, but mind" ("A Prune"); What a "soft" style it is to "disillusion Leng Xiang without sadness" (Nian Nujiao)!
Undoubtedly, after all, Song Ci is not all feminine, and we can't turn a blind eye to the masculine beauty of Su Xin's Ci. But there are a few points worth noting. First of all, Su Shi's bold words were not recognized in the Northern Song Dynasty. His apprentice believes that, like Ambassador Lei's dance, "although it is a world-class work, it should also be unnatural". (Accordingly, "nature" also refers to the rhythm, softness and flexibility of words. Later, the style of "Sheng Da", still headed by Zhou Bangyan, swept the ci world. On the contrary, it is "learning from the Soviet Union in the north", and bold words are widely popular in the state of Jin, and Xin Qiji happens to be a heroic poet who travels from the north to the south. Xin Ci has its side of "following Dongpo's songs and not returning to the river", but after all, it can combine rigidity with softness and is unique. Zhou Ji said, "Jiaxuan @ (1) aims high and resists high-profile; Become gentle, become sad "("Jie Cun Zhai Luntz Za "), which is a unique eye. This is the most acceptable "variation" that combines the "true colors" of words. Secondly, Su Xin himself has a large number of excellent feminine systems. There are many comments on this by predecessors, so I won't repeat them here. Thirdly, as far as the overall investigation of Song Ci is concerned, soft and colorful works are absolutely dominant. Zhang (2) a self-evident person, led by "graceful" and "bold", put forward the viewpoint of "taking graceful as the main" and "taking graceful as the right". Today, this view may not be correct, but it does dominate the pronoun world in Ming and Qing Dynasties. For example, the most influential Summary of Siku holds the view of "pure and graceful words" and calls Su Xin's words "other situations".
Third, compared with poetry, the lyricism of words is more frank.
Since Confucianism began to understand the Book of Songs in the Han Dynasty, "expressing ambition through poetry" has become the traditional poetry teaching in China. Lu Ji put forward "poetic and picturesque", which reflected the further development of literature. After entering the Tang Dynasty, "expressing will" and "feeling" went hand in hand. In the Song Dynasty, as mentioned above, there was a trend of "poetry diversion".
Poetry is not only "expressing ambition", but also related to the national economy and people's livelihood and social education. People talk about the poet's political views and personal integrity according to his poems, which makes the poet dare not live his own life. Although they may not be as sincere and fearful as before in court, they still have to abide by the rules and be serious. When it comes to personal affairs, it is inevitable that you will have scruples, so you will avoid the importance. On the other hand, Ci was regarded as a small skill at that time, which was difficult to appeal to elegance and vulgarity, and was only used for "entertaining" and "entertaining guests". Therefore, the poet is bold and unconstrained, and he can completely open the door of his heart and freely accept all the private lives and secrets that are inconvenient to see in his poems without any disguise. From this, we can understand why Han Qi and Sima have such beautiful and lingering love words as "Little Red Lip" (Sick Tired) and "Xijiangyue" (Loose Steamed Bun), and we don't have to seek any subtle meaning from Fan Zhongyan's "Su Lian Gai" (Blue Sky). It should be noted that different life contents and thoughts and feelings are expressed in different styles and styles, which is also the natural law of literature. Otherwise, a literary history that has lasted for thousands of years, how can there be a prosperous scene of letting a hundred flowers blossom and a hundred birds contend? There is a saying that "it is better to watch others play games than to watch them give way." In this sense, it may be considered that Song Ci is the literature that can best reflect the inner feelings of Song people, and it is also the most frank and authentic lyric poem. Of course, this does not affect our scientific judgment and concrete analysis of this "feeling" health degree.
Fu, Bi and Xing are the traditional expressions of China's poems. Compared with literature, poetry is more important than interest, and poetry is mainly lyrical; Compared with poetry, words are more important than interest, and the cover of words mainly expresses delicate and implicit feelings.
Metaphor has two connotations, one is a metaphor without sustenance, which is similar to pure expression skills. Proper use of metaphor skills can not only enhance the sensibility, intimacy, authenticity and profundity of emotions, but also create a beautiful poetic environment in which scenes blend and things blend with me. In actual creation, Bi Hexing is sometimes separable and sometimes inseparable. For example, Ouyang Xiu's "Farewell is getting farther and farther, and the distance is like spring water." Obviously better than. Zhou Bangyan's Willow and Xin Qiji's Twelve Brothers Who Don't Stay with Mao Family are obviously popular. Although the willow and the bird are in sight, the poet's intention is not here, but to arouse the feeling of parting. Zhou ci takes the meaning of folding willows to bid farewell, or "waving water and floating cotton to bid farewell", which is full of feelings in the scenery; Or "to bend a soft strip across thousands of feet", these are spontaneous, innovative and witty. Although Xin Ci is full of pen power, its composition is very strict. The rise of a crow bird, then folded into various historical facts of parting, was supported by a crow bird, and fell out of the title of another brother, which can be called a sudden emergence and outstanding creation. More prosperous than the middle, more prosperous than the middle, and more integrated than the middle, just like Li Qingzhao's "Don't say anything, the curtain rolls west wind, and people are thinner than yellow flowers." He Zhu "How much leisure? Yichuan smoke, full of wind, plum yellow rain. There are two sentences in front of Li Ci: "In Dongli, after drinking at dusk, the fragrance is full of sleeves", so although the sentence ends with the word "Bi", it still means "the sound of chrysanthemum is clear", and the meaning of "Xing" is among them. Compared with the unique late spring scenery in the south of the Yangtze River, the congratulatory message won the reputation of "Sister of the River", which shows its exquisite performing arts. In short, Li Hehe not only has beautiful language, but also wins with his unique artistic conception and charm.
Another connotation of Bixing refers to Bixing with sustenance, that is, with the help of Bixing, there is another profound sustenance. The so-called "words close to the purpose" is. It is similar to a creative method and originated from the theory of "beauty thorn" in the pre-Qin period. Compared with the previous Bi Xing, the above Bi Xing pursues local (occasionally overall) artistic beauty, and the feelings are consistent inside and outside; This metaphor pursues the artistic beauty of the whole (occasionally local), and the feelings expressed are usually inconsistent inside and outside. In a word, there are both connections and differences between the two. The latter has richer and deeper political connotation and social significance than the former, that is, what Liu Xie called "Small Name Big Class" (Wen Xin Diao Long Bi Xing Pian).
Although metaphors are often used in ci, from the Tang and Five Dynasties to the Northern Song Dynasty, because they often come from the need of "responding to songs" before song and dance banquets, most of them pay less attention to sustenance and focus on natural artistic conception. In the Southern Song Dynasty, due to the great changes of the times, the political factors in Ci were strengthened. Second, in art, we strive to excel the Northern Song Dynasty in ingenuity, and at the same time, the wind of association and chanting prevails, so we place more hopes on it.
Look at Song Ci again, there are two kinds of words commonly used to describe scenery and chant things. Among them, there is naturally a difference between whether there is a sustenance or not.
The first kind of lyric. Take Xi Chun and Shang Chun as examples. Li Qingzhao's Dream reflects her sensitive psychology of cherishing spring through the change of natural scenery outside the curtain. His "Good Things are Near", "The wind will set the flowers deep, and the snow will accumulate outside the curtain", which is about the feelings of hurting spring. Both belong to "always in my heart" and have no deep meaning. Xin Qiji's Fishing has sustenance. Together, "it can eliminate several storms and spring will return." There is a shocking force spewing out. Of course, it is not the return of spring injury, but the decline of national luck and the difficult situation. In the next film, the beauty is dying because of the damage to spring. She is very angry and resentful. Pointing at the person who is jealous of the moth eyebrow: "Don't dance! Don't you see that the swallows in Yuhuan are all dust? " This is also a serious warning to this small country. In the last part of his "Die Lian Hua Zui Shu Moon Rain Rock Waves", it is clear that he used the technique of "Li Sao" to express his noble character with beautiful herbs, but it is slightly unknown: "September 1 Lanpei is good, there is no one in the valley, and she complains about her beauty. Treasure is cold and eternal, and Zhu Sixian has few bosom friends. " Full of grief and indignation, beyond words. Another example is Yue Fei's expression of patriotic feelings, which is both impassioned and straightforward in the style of "Man Jiang Hong" and euphemistic and melancholy in the style of "Xiao Zhongshan": "If you want to give your heart to Yao Qin, you have few bosom friends and no one listens." This is exactly the same as the symphonic poem Dead Hua Lian.
The second is the lyricism of things. For example, Zhang Zhifu and Su Shi in the Northern Song Dynasty sang Huayang in Shui Long Yin, while Zhang Gongfu and Jiang Baishi in the Southern Song Dynasty sang cricket in Qi Tianle, which is mainly an artistic struggle for novelty, but it contains the feelings of ordinary poets and poets who are sad about the Spring and Autumn Period, and has no special political sustenance. A typical example with the same topic and sustenance is Yuefu Supplement Written by adherents at the end of Song Dynasty. According to the expert's research, it was written by the adherents of the Song Dynasty who thought that the Yuan people had excavated the tomb of the Queen of the Song Dynasty. Fourteen people recited thirty-seven songs about five objects, most of which were pinned on them. For example, "Bai Lianhua" and "cicada" are used to express empresses. Fu borrowed the Yuhuan moonlit night to return to his soul, so he often used literal words such as "Grandfather", "Nishang", "Huanfei" and "Yaotai". Send Cicada uses the words "Palace Soul", "Miracle", "Qigong", "Forbidden City" and "Deep Palace". In short, they all use metaphors to express the past and the present. (See Xia's Textual Research on Yuefu Supplement) Take Wang's Water as an example. The lyrics were written by Bai Lian and Yang Fei, which set each other off. Yang Fei sets off graceful white lotus in the water, and the white lotus and Yang Fei's jade soul reflect "ice muscle snow" and "self-purification of fairy posture makes the heart more bitter". Bitter hate "too cold, seamounts are in accordance with the contract, what is the soul?" Bitter hate "thirty-six vicious misty rain, old and desolate, to whom do you complain?" Yang Fei died on a moonlit night, but when she saw that the Forbidden City was cold and desolate, full of bitterness and nowhere to tell, she used the metaphor that the grave had been dug up, thus pinning the poet's grief over national subjugation.
In addition to these two categories, there is a special chapter. The whole article seems to have no sustenance, but individual sentences clearly have their own meanings. For example, Li Qingzhao's Song of Eternal Sorrow is full of personal life experience, but the sentence "There is no storm in two places" is full of concern for the country. As a result, personal worries and national worries are integrated, cordial and profound. Another example is Chen Liangzhi's "Water Spring Hate", in which spring scenery is written throughout to express Gao Huaiyuan's feelings, but the last three sentences are very strange: "I hate the world of wheatgrass, so tourists don't appreciate it, so I give it to her, Yingying Yan." There is no lack of "national hatred" in "Spring Hate". Therefore, A Qing and Liu Xizai pointed out that these words are "close to the purpose, leaving behind and shouting for crossing the river" ("Art Outline").
Changzhou Ci School in Qing Dynasty put forward a series of creative requirements and artistic standards. For example, Zhou Ji said, "If you can't nail it in, you can't nail it out." As far as the creative motivation is concerned, it is required not to be on the chest before writing, so as to make the feelings depressed and profound. "Unable to find special sustenance", that is, "seeking for no sustenance", refers to the requirement that the sustenance should not be exposed in the creative skills and artistic realm, so that the feelings expressed and the artistic images described can be combined into one, and the situation of "muddy without trace" can be achieved. In a word, it is required to "declare harmony with each other and share a brilliant chapter", and ideological and artistic qualities should be unified. There are many poems about the Song Dynasty, taking Wang's Cicada as an example:
I hate the soul of the palace, and the trees are green every year. At first glance, the throat is cold, and then the leaves are dark, and the sorrow is deep. Rain in the west window, strange air, jade Zheng tuning column; The mirror is black and the makeup is not complete. Who is it for? Copper fairy lead tears like washing, sighing and carrying the plate away, it is difficult to keep zero dew. Sick wings frighten autumn and wither to see the world. How many degrees does it disappear in the sunset? The aftertaste is bitter, lofty and sad. I want to have convulsions.
The word begins with the story of "a woman is a cicada" and begins to tackle key problems, which directly captures the spirit of cicada. The following is anthropomorphic technique. The three sentences of "swallowing" are written about the sadness of cicadas, such as the "complaining about others" of Qi women. "West Window" is followed by "breaking the law", which means "although you know the worries in your heart, you must doubt the joy in it" (Chen's "Various Ci Ju"). Reversing the meaning of the question not only implies the sadness of home and country, but also implies the ups and downs of literature and emotion, ups and downs, sad and moving. The following films further integrate their feelings into the artistic image of cicada. At first, it was novel and appropriate to use "golden bronze immortal" (according to legend, cicadas eat wind and drink dew). If you go far, there is no meaning to live; How can the adherents survive when the country breaks down and the family dies? "Sick wings" and "withered", cicadas will die, and "the lingering sound is more bitter". Although people have gone through vicissitudes of life and are infinitely sad, how can they "disappear several times in the sunset"? The rhyme dates back to the good times when the wind is warm and the willows are swaying, but it is written off with the word "thinking", pointing out that prosperity is hard to recover, national recovery is hopeless, and the meaning is fine and alert. Looking at the whole word, the concept is rigorous and the words are meticulous. Obviously, it is intentional and entrusted with a heavy responsibility. Only in this way, it will inevitably be deliberately marked with words.
To this end, after Zhou Ji, Kuang Zhouyi added another sentence. He believes that Bi Xing's trust in "what is precious" is revealed in his ignorance and triggered by Falk himself. The sense of life experience is connected with the soul. That is, the soul, that is, the sustenance, is not attached to these two things. "If" everything depends on the light of the tube, this thing is the same as this ambition, and it is a facade, unchanged. "("Hui Feng Hua Ci "Volume 5) This theory is a head higher than alms. If we examine the Song Ci, if Dongpo's "Wild Goose" is written like this, we can get a little charm:
The curved hook moon hangs on the sparse buttonwood; In the dead of night, the water from the water clock has been dripping. Who saw the solo dance, like a wild goose in the sky. At night, it suddenly becomes afraid, suddenly flies and comes back frequently, but no one always understands its infinite inner feelings. It kept wandering among the cold branches, but refused to perch on any tree, and finally landed alone on the cold shoal.
This is a wonderful impromptu message. Ci was written in the early stage of demoting Huangzhou. At that time, Su Shi was suddenly hit, deeply worried and resentful, so he couldn't sleep at night and wandered alone in the quiet courtyard under the moon. He occasionally caught a glimpse of Gu Hong, and at that time he was full of resentment, so he told the whole story through the image of Gu Yan: he was cynical and worried; I am in a lonely and dangerous situation. I am noble and self-controlled. I am willing to be lonely, and my feelings are deep and complicated. The whole impromptu chanting uses pure line drawing, but it seeks to express the spirit, not the sustenance, which is naturally revealed. Compared with Wang's Qi Tianle mentioned above, it is more interesting.